Fear Itself: Skin & Bones

Anyone catch the super-freaky episode eight tonight? OMG!! Although I caught up with this one a little late, it managed to scare the living begeezus out of me.

So this rancher goes missing during a hunting trip with buddies in the mountains and is presumed dead. He shows up weeks later unexpectedly. Alone.

Creepy-looking and obviously possessed, Dad, is not himself. The family: Mom, two sons, and uncle aren't sure what to do. The doctor takes one look at him and says he needs to eat something. Turns out he did.

For broadcast television, this episode was remarkably horrific and creepy as it turned the subplot toward cannibalism while Native American dude was sharing tales of Wendigo. There was an amazing build to suspense and although the setting, ranch in the middle of nowhere, is limited, the episode delivered a thorough fright despite limitations. The scene with meat cleaver and the body, his wife... chilling!!

Dude who plays cannibal Dad-- wow!! UBER-creepy. Whoever he is, he was remarkable. He spoke so well through body language and those eyes... that smile. *shivers* This one's going to stick with me for awhile.

Finally a strong episode that delivers on a subconscious level. Nice. Looks like I'll be back next week.

Shout-out!!

I need to welcome two friends {with solid films tastes} to the world of Blogger. TOW {or TV} is new to the scene, typically using MySpace as his creative outlet. MAC is equally artistic, but more opininated {like me}. Both are branching out into new mediums. Together, they make TOWMAC.

Shine a Light (2008)

That was incredible. On HDTV it was breaktaking. I kept waiting for Mick Jagger to come out of my television. Seriously!

Martin Scorsese could have done for the Rolling Stones what he did for Bob Dylan in No Direction Home. Instead, he filmed Shine a Light. This was no exhaustive biography, nor a in-depth documentary; this was simple the Stones in all their ferocity. More concert than docu-drama, Shine a Light is footage of the Stones in the intimate Beacon Theater in NYC performing for a small, but full crowd.

Scorsese delights the concert-goers senses with brilliant editing that dazzles. While I wish there would have been better coverage of Keith, Ronnie and Charlie, Mick is the ultimate front man. The camera can't not watch him. Scorsese catches some candid shots between the group that are rather endearing and with Scorsese's touch, the band's chemistry is awesome to behold.

The concert footage from their Bigger Bang tour is a solid mix of songs. Opening with Jumpin Jack Flash {expecting something else?}, the Stones tear through the set with unexpected tracks thrown in. Tumbling Dice and Shattered shares airtime with masterpieces like Sympathy for the Devil. They graciously share the stage with Jack White and tear it up with Buddy Guy on Champagne and Reefer.

Shine a Light marks a moment of rock and rock history and celebrates. As the Stones rock on, Scorsese puncuates the film with interviews from their younger days. Fans will find these snippets of news almost prophetic. Shine a Light is easily a must-see for Stones fans!

Vantage Point (2008)

While in attendance at a global terrorism summit in Spain, President Ashton (William Hurt) is assassinated. Events leading up to and after the president's shooting are told and retold through several different perspectives.

Secret Service Agents Thomas Barnes (Dennis Quaid) and Kent Taylor (Matthew Fox) are assigned to protect him. Barnes is seeing his first action in six-months since taking a bullet for the President.

Howard Lewis (Forest Whitaker) is an American father video-taping the event and may have inadvertently caught a glimpse of the shooter.

Rex Brooks (Sigourney Weaver) is a GNN producer. She has 10 television cameras in and around the plaza where the summit is located. Her reporter, Angie (Zoe Saldana) is on the scene

Javier, Veronica, Enrique, and Suarez are terrorists. Oops!! Spilled the beans!

Vantage Point is a semi-intelligent thriller that remains mostly unrealized. With a paper thin script, the movie never develops enough tension to pay off. Characters are under-developed. The attempts at subplots are pathetic. Save for an intense car chase that leads to massive collateral damage, there isn't much here.

However, clocking in at just over 90 minutes, Vantage Point isn't that bad. It gets in, entertains, and gets out.

El Laberinto del Fauno (2006)

I really missed the mark with my original review.

I saw Pan's Labyrinth three times in the theatre that year. Each time I gained further appreciation for the dark fantasy by Guillermo del Toro. Still don't consider myself a fan, although he may finally garner my devotion if The Hobbit is realized.

Pan's Labyrinth is the story of Ofelia, a bookish young girl, caught in the mountains of 1940s Fascist Spain. Her pregnant mother is expecting the child of the sadistic Captain Vidal. Ofelia's escapism into the land of fairies and fauns crosses paths with her reality to create a hauntingly beautiful story.

The film is visually arresting. Del Torro blends his CGI seamlessly. The cinematography is wonderfully crafted to parallel the contrasting worlds unconsciously. Adding yet another level of intricacy are the chilling melodies of the score.

The foreign cast is remarkable. The young Ivana Banquero is amazing. Sergi Lopez is diabolical. In contrast, Del Toro's fantasy characters are equally riveting and revolting.

Mesmerizing and grueling, Pan's Labyrinth isn't easily forgotten or explained.

The end continues

Bob went to the vet again today. I came home last night to find the side of his face swollen; his hair was completely missing from the right side of his face.

He came home from the vet today with a drainage tube sutured into place. According to the vet, he has an abscess from a wound on his face. That's odd because Bob is strictly indoors. I can't imagine what occurred in my absence that would have caused such a nasty wound. One moment it was there. God, I feel like a bad parent.

Since being treated his eyes are clearer and dare I say it, there is a spring to his step. He looks terrible. The whole ordeal has sucked the life right out of me. His looks mangy, but damn it, I love him. He's all I've got left.

Not to be too graphic, but this drainage tube is something else. It allows the abscess to drain and his long, once pure white, fur is an odd color of pink. Thankfully, he allows me to wash his face with a warm clothe. He knows we're in this together.

His routine is different now. He eats only soft foods--he really likes tuna. He loves his ice water still. He has even resigned to having pills jammed down his throat and that being chased with a concoction of oral meds.

Damn it, Bob! Don't die on me.

Be Kind Rewind (2008)

You either like Michel Gondry or you don't. If you fall in the latter group, you will not appreciate Be Kind Rewind to its fullest. To you, it may look ship-shod and down right amateurish. Fans of the director will find the kind, silly and dreamy qualities we love.

Be Kind Rewind is a story of humanity in its simplest form. {How's that for pretentious?!} For general audiences, it is Gondry's most 'normal' film to date.

Junkyard worker and conspiracy theorist Jerry (Jack Black) inadvertently becomes magnetized when he tries to sabotage the power plant he blames for causing his headaches. Visiting his friend, Mike (Mos Def) at the local VHS store he destroys all the movies in his friend's store. In order to keep the store's few loyal customers and keep shop-owner Mr. Fletcher (Danny Glover) please, the duo decide to recreate the films most in demand. Their, ahem, reinterpretation of Ghostbusters {I've got to see that one.} leads to a high-demand for Sweded {meaning tapes coming from Sweden as an excuse for longer wait times and higher rental fees) films like The Lion King, Rush Hour, Driving Miss Daisy, and Robocop.

Be Kind Rewind is a low budget gem that enjoys its idealistic view of humanity. The cast is sweet led by Black and Mos Def. Jack Black is his manic self, but Gondry successfully tempers the screwball and gets a solid performance. Mos Def is sadly underutilized, but still manages a good performance. Kudos to Danny Glover, Mia Farrow and Sigourney Weaver for cameos.

Be Kind Rewind is odd. It's goofy and awkward. Still Gondry keeps the film genuine and creates a simple feel-good film.

As the credits role, your thoughts go immediately to that friend. Mine did. You know, the friend with the video camera that think he's the next Spielberg. Everybody has one. Be Kind Rewind has created a simple pop culture reference in 'Sweded'. Google it. You'll enjoy what you find. This site has some of the best.

And in the end...

My cat is dying. I can't believe it ends like this. First, I lose Suzi. In retrospect, her symptoms presented the same way. Maybe she did run away to die. It hurts my heart; she was my girl.

Now Bob. He went to the vet. He came back diagnosed with congestive heart failure. There is no cure.

Where once there was a robust Himalayan Calico that owned the very ground on which he stood. Now there is a bony shell. Where there was running and purring that sound like a speed boat, there is faint mewing and purrint barely above a whisper.

He is not in pain, but I am. I dread to think of the day when I wake-up and he doesn't. Or when I come home and he is no longer there to greet me.

This just bites. Hardcore.

Wall*E (2008)

In a world abandoned to trash, Wall*E is the last robot standing. Humankind, having mucked it up, left long ago. The Waste Allocation Lift Loader, Earth-Class was brought in to save Earth from garbage. Wall*E is essentially a trash-compactor, but after 700 years on Earth, this little robot has developed a personality and a penchant for collecting odd human things. Wall*E is curious, yet lonely and amuses himself by watching a Hello, Dolly! VHS tape--that is until Eve arrives. Eve, an Extra-terrestrial Vegetation Evaluator comes to Earth with a simple directive: find plant life to prove Earth is safe again. Fascinated by Eve, Wall*E immediately falls in love. When Eve completes her mission, love takes Wall*E to across the universe for her and ultimately, to save the humans.

The creators at Pixar are unabashed at examining society through the animated lens. Their latest, Wall*E is no different. But for a film with so little dialogue, Wall*E has a lot to say. Consumerism and commericalism top the list. Obesity, mass media, and environmental issues aren't far behind. The film is far from preachy. Smart choice. In not bashing the general audiences with that, Wall*E ultimately becomes whatever the viewer wants it to be.

The animation is, of course, flawless. Everything is top-notch in form and design. Thanks to DLP, is even more wonderfully realistic. Judging by the characters in Wall*E, Pixar animators are influenced by pop-culture. Wall*E is a E.T.-esque in looks, robotic by nature. Auto, the Axiom's pilot looks suspiciously like Hal 9000 and sleek, sexy Eve looks like a cross between an IKEA trash can and Apple's Ipod.

The feel of Wall*E is decidedly human and hopeful. The creators have managed to bring true emotion to these little robots. Afterwards, you feel silly for 'almost' losing it over certain points in the film.

Wall*E is a delightful, entertaining piece of animation. It's a a sci-fi epic that pays homage to 2001: A Space Odyssey and Charlie Chaplin. Pixar has found the perfect blend of elements to create classics for generations to come.

Also of note, the opening short rocks old school--evoking Bugs Bunny and Elmer Fudd.

THX 1138 (1970)

In the 25th Century, emotion is a crime. In a world where society controls all behavior through drugs, holographic TV broadcasts sex and violence, and a robotic police force maintains the law, factory worker THX 1138 (Robert Duvall) and roommate LUH 3417 (Maggie McOmie)decide to live. THX stops taking his drugs and falls in love with LUH. After unauthorized erotic behavior with THX, LUH becomes pregnant. THX is jailed for his behavior. Upon meeting SEN 5241 (Donald Pleasance), the two set out to escape. Meeting hologram SRT and finding LUH are just stops along the way to freedom.

Regardless of the history and following behind George Lucas' student project turned Francis Ford Coppola's produced feature THX 1138 is a fore-telling of what was to come from Lucas. His now iconic stylings that are raw and undefined; but the true aesthetic from the now-famed director shines clearly.

THX 1138 is not a mainstream film and I cannot recommend it to anyone save for those genuinely intrigued by what makes Lucas tick. It has shades of 2001: A Space Odyssey both in tedium and sterility. The film's strength is found in the visual aesthetic, not the story.

A young and bald Robert Duvall as THX is simply amazing. He depth of performance is remarkable in such a rigidly controlled universe. In contrast, Donald Pleasance's SEN is less assured. Where is Maggie McOmie now?

THX 1138 is an altogether different film experience; it's art house fare from a brilliant up and coming director. In 2008, though, it is an homage to the cinematic and technical brilliance of George Lucas.

Drillbit Taylor (2008)

Three incoming freshman have high hopes for their high school careers. Their first day of school clearly sets the pace for Wade (Nate Hartley), Emmit (David Dorfman), and Ryan (Troy Gentile). They are on the bottom of the food chain and school bully, Filkins (Alex Frost) is at the top. One week under Filkins' reign of terror, the boys decide to hire a bodyguard. Limited means gets them an ex-Army soldier and beach bum in Drillbit Taylor (Owen Wilson). As the hero of three geeky misfits, Drillbit teaches the boys life lessons and learns some on his own.

Drillbit Taylor will not win any awards. Nor will it wins fans of the R-rated conglomerate of Rogan/Apatow and Co.. Unlike Superbad, The 40-Year Old Virgin, and Knocked-Up, Drillbit Taylor is an average underdog story. This average is an entertaing movie. I truly didn't expect to enjoy this film solely because of its creators.

Owen Wilson perfects his carefree attitude (Hansel, Dupree) in the role of Drillbit. It's obvious Wilson isn't stretching his talents, but he is fun to watch interacting with the three young leads. Writer Seth Rogan obviously has some deep-seated emotion issues. Alex Frost might just be the next Channing Tatum.

Much like a freshman, the film is unfocused and jumps the shark too often to create a truly heart-warming story. There is also an edge of cynicism that keeps the touchy-feely to a minimum. Still, Drillbit Taylor has its heart in the right place.

The Invisible Man: Season One (2000)

This short-lived sci-fi series was a late night favorite for me. I was thrilled to discover it again on DVD. The Invisible Man follows Darien Fawlkes (Vincent Ventresca), a con-man turned government agent. Darien can turn invisible thanks to the Quicksilver gland implanted in his brain by his deceased brother, Kevin. Led by The Official (Eddie Jones), Fawkes and his partner, Bobby Hobbes (Paul Ben-Victor) take on the government's tough assignments.

The Invisible Man is exactly like it sounds--outlandish and cheesy, but still manages to ground the sci-fi with believable stories. It's a fantastic mix of great performances by virtual no-names, interesting story lines and complexity that goes beyond the sci-fi/super-spy norm. It's an entertaining series that never got a fair chance.

Charlie Bartlett (2007)

A pathetically lame attempt at social commentary. See The Chumscrubber, Thumbsucker and Rushmore. Don't see this.